I am grateful to The Sabourin Family Foundation for their support for this book, and to many who contributed to it. My heartfelt thanks to Jane Nakamura, who patiently entertained my probing into the life of her brother and family and made available a wealth of material she collected over the years; Elaine Nakamura, whom I initially approached about writing a monograph on her father and whose approbation was important in moving forward with this project; my research assistants Sonya de Lazzer, Jiawei Li, and Aranee Senthilmurugan, all of whom were critical in the initial stages of my research for this book; Meghan Edmiston, who made sure my day job got done while I worked on the different versions of the manuscript; my partner Karen who made sure I slept and ate — she remains my closest and dearest ally in this crazy world; Hilary Goss and Christopher Cutts of the Christopher Cutts Gallery, who were invaluable in giving me access to the Gallery’s archive holdings (let alone Christopher sharing some of his wonderful reminiscences of his moments with Kazuo); Brian Grison, whose MA thesis on Nakamura is an exceptional research document; Graham Broad, for answering some pesky questions about the P11; Theressa Takasaki and Yayoi Kawabe from the Japanese Canadian Cultural Centre; Krista Broeckx, Phillip Dombowsky, Katerina Atanassova, Adam Welch, and Christopher Davidson from the National Gallery of Canada; Sonya Jones at The Robert McLaughlin Gallery; Amy Furness and Marilyn Nazar at the Art Gallery of Ontario; John Shearer of the Canadian Art Group; the anonymous reviewers whose persistent questioning of a number of points in this book made it a much better document; Lucy Kenward, who is an alchemist of editing, for turning my leaden words into gold; Michael Rattray, Emily Putnam, and Stephanie Burdzy of ACI; Sara Angel, ACI’s founder and Executive Director, a constant companion on my journeys through Canadian art, who continues to be an inspiration in so many ways as a scholar and a human being; and last but not least, Jocelyn Anderson, who displayed a patience rivalled only by Job in dealing with the various needs of my manuscript as it went through its numerous edits and who remained constantly cool under pressure despite the panic of those around her, principally me.
From the ACI
The Art Canada Institute gratefully acknowledges the generosity of the Title Sponsor of this book, The Sabourin Family Foundation.
We thank the Founding Sponsor of the Art Canada Institute: BMO Financial Group.
The ACI also thanks the other Title Sponsors of the 2020–2021 Canadian Online Art Book Project: Anonymous, Alexandra Bennett in memory of Jalynn Bennett, Kiki and Ian Delaney, The Koerner Foundation in memory of Walter C. Koerner, and Andrew and Valerie Pringle.
We thank the 2020–2021 Season Sponsors of the Art Canada Institute: John and Katia Bianchini, Linda and Steven Diener, Richard and Donna Ivey, Michelle Koerner and Kevin Doyle, The McLean Foundation, Bill Morneau and Nancy McCain Foundation at Toronto Foundation, Partners in Art, Gerald Sheff and Shanitha Kachan Charitable Foundation, TD Bank Group, and Bruce V. and Erica Walter.
We are grateful to the Art Canada Institute Lead Benefactors: Anonymous, Anonymous, Alexandra Baillie, Marilyn and Charles Baillie, Alexandra Bennett and the Jalynn Bennett Family Foundation, Grant and Alice Burton, Connor, Clark & Lunn Foundation, Delaney Family Foundation, Jon S. and Lyne Dellandrea, Joan and Martin Goldfarb, Tim and Darka Griffin, K. James and Melinda Harrison, The Michael and Sonja Koerner Charitable Foundation, Alan and Patricia Koval Foundation, McCarthy Tétrault LLP, Sarah and Tom Milroy, Partners in Art, Sandra and Jim Pitblado, Tim and Frances Price, The Donald R. Sobey Foundation, Pam and Michael Stein, Jane and Eberhard Zeidler, and Sara and Michael Angel.
Appreciation goes as well to our Patrons: Anonymous, Christopher Bredt and Jamie Cameron, Malcolm Burrows and Barbara Dick, Debra and Barry Campbell, Anne-Marie Canning, Cowley Abbott Fine Art, Lilly Fenig, Jane and Michael Freund, Leslie S. Gales and Keith Ray, Roger and Kevin Garland, The Lindy Green Family Charitable Foundation, The Scott Griffin Foundation, Franca Gucciardi, matched by McCall MacBain Foundation, Elaine Kierans and Shawn McReynolds, Trina McQueen, Judith and Wilson Rodger, Fred and Beverly Schaeffer, Michael Simmonds and Steven Wilson, Andrew Stewart and Kathy Mills, Noreen Taylor, Carol Weinbaum, and Robin and David Young.
Gratitude goes as well to our Founding Patrons, who supported the Art Canada Institute in its first year: Jalynn Bennett, The Butterfield Family Foundation, David and Vivian Campbell, Albert E. Cummings, The Fleck Family, Roger and Kevin Garland, Glorious and Free Foundation, The Scott Griffin Foundation, Gershon Iskowitz Foundation, The Michael and Sonja Koerner Charitable Foundation, Michelle Koerner and Kevin Doyle, Phil Lind and Ellen Roland, Sarah and Tom Milroy, Partners in Art, Sandra L. Simpson, Stephen Smart, Nalini and Tim Stewart, and Robin and David Young.
The ACI wishes to thank the Art Gallery of Ontario (Alexandra Cousins), Artists’ Rights Society (ARS) (Andrea Mihalovic), Barnes Foundation, Bowdoin College Museum of Art (Michelle Henning), BYDealers Auction House (Annie Lafleur), Canadian War Museum (Manuel Lapensée-Paquette, Meredith Maclean), Chicago Maroon (Michael Cheng), Christopher Cutts Gallery (Christopher Cutts, Julia Marcello), City of Vancouver Archives, Cowley Abbott (Rob Cowley), Estate of David Milne, Estate of Harold Town, Estate of William Ronald, Government of Ontario Art Collection, Greater Toronto Airports Authority, Heffel Fine Art Auction (Molly Tonken), Japanese Canadian Cultural Centre, The Kalaman Group (Rachael Watson), Kunstmuseum Den Haag (Gert Vogelaar, Jolanda Zonderop), Library and Archives Canada, MacLaren Art Centre (Emily McKibbon), Metropolitan Museum of Art, Minneapolis Institute of Art (Dan Dennehy), Mira Godard Gallery, Miriam Shiell Fine Art (Miriam Shiell, Michelle McGeean), Musée d’Orsay, Paris (Denise Faïfe), Museum of Fine Arts, Boston (Carolyn Cruthirds), Museum London (Jamie Faye Ryan, Janice Lopes), Museum of Modern Art, New York, National Gallery of Canada (Raven Amiro), Nikkei National Museum (Linda Reid), SOCAN (Gilles Lessard), United States Department of Energy Historian’s Office, University of British Columbia Archives (Candice Bjur), University of British Columbia Library (Jacky Lai, Weiyan Yan), University of Chicago Library (Daniel Meyer), Waddington’s Auctioneers and Appraisers (Solomon Alaluf, Julia Deo, Nicole Schembre), and John and Katia Bianchini, Bill Kirby, Elaine Nakamura, Jane Nakamura, Andrew Rookley, and Paul and Janice Sabourin.
The ACI also recognizes the additional private collectors who have given permission for their works to be published in this edition.
IMAGE SOURCES
Every effort has been made to secure permissions for all copyrighted material. The Art Canada Institute will gladly correct any errors or omissions.
Credit for Cover Image
Kazuo Nakamura, Blue Reflections, B.C., 1964. (See below for details.)
Credits for Banner Images
Biography: Kazuo Nakamura with his work Suspension, 1979. (See details below.)
Back Alley, Vancouver, 1942. Collection of the Beaverbrook Collection of War Art, Canadian War Museum, Ottawa, purchase (20190036-003). Courtesy of the Canadian War Museum.
Block Structure, 1956. Private collection. Courtesy of Christopher Cutts Gallery, Toronto.
Blue Reflections, 1965. Collection of Andrew Rookley, Ontario. Courtesy of Heffel Fine Art Auction House.
Blue Reflections, B.C., 1964. Collection of the MacLaren Art Centre, Barrie, Gift of Ron McQueen. Courtesy of the MacLaren Art Centre.
Charts of the Evolution of Art, c.1980s. Estate of the artist. Courtesy of the Christopher Cutts Gallery, Toronto.
Composition 10-51, 1951.
Conic Structure, 1962. Private collection. Courtesy of BYDealers Auction House.
Construction with Lines, 1958. Estate of the artist. Courtesy of Christopher Cutts Gallery, Toronto.
Drawing of Tashme Camp, c.1986. Estate of the artist. Courtesy of Christopher Cutts Gallery, Toronto.
First Frost, 1941. Collection of the Beaverbrook Collection of War Art, Canadian War Museum, Ottawa, purchase (20190036-002). Courtesy of the Canadian War Museum.
Floating Still Life, 1967. Estate of the artist. Courtesy of Christopher Cutts Gallery, Toronto.
Forest, 1972. Courtesy of Paul and Janice Sabourin. Photo by The Kalaman Group.
Galaxies, 1964. Collection of the Greater Toronto Airports Authority.
Geometric Projections, n.d. Estate of the artist. Courtesy of Christopher Cutts Gallery, Toronto.
Geometric Suspension, 1969. Estate of the artist. Courtesy of Christopher Cutts Gallery, Toronto.
Geometrical Suspension No. 2, 1967. Collection of The Robert McLaughlin Gallery, Oshawa, purchase (1977NK37). Courtesy of The Robert McLaughlin Gallery.
Green Landscape, 1966. Private Collection. Courtesy of Heffel Fine Art Auction.
Grey Morning, 1961. Collection of Museum London, Gift of Mr. and Mrs. John Moore (80.A.157). Courtesy of Museum London.
Hamilton, December 28, 1944. Collection of the Beaverbrook Collection of War Art, Canadian War Museum, Ottawa, purchase (20190036-015). Courtesy of the Canadian War Museum.
Hemlocks, 1957. Collection of Jane Nakamura. Courtesy of John G. Hatch.
Inner Structure, 1961. Private Collection. Courtesy of Waddington’s Auctioneers and Appraisers, Toronto.
Inner Structure No. 3, 1959. Private Collection, Ontario. Courtesy of Miriam Shiell Fine Art.
Inner View, 1954. Collection of The Robert McLaughlin Gallery, Oshawa, purchase (1971NK45). Courtesy of The Robert McLaughlin Gallery.
Into Space, 1954. Collection of The Robert McLaughlin Gallery, Oshawa, purchase (1971NK41). Courtesy of The Robert McLaughlin Gallery.
In Space, Blue Irises, 1967. Estate of the artist. Courtesy of Christopher Cutts Gallery, Toronto.
Lake, B.C., 1964. Collection of The Robert McLaughlin Gallery, Oshawa, purchase (1991NK111). Courtesy of The Robert McLaughlin Gallery.
Lakeside, Summer Morning, 1961. Collection of Museum London, Gift of Mr. and Mrs. John H. Moore (78.A.126). Courtesy of Museum London.
Landscape, 1952. Collection of The Robert McLaughlin Gallery, Oshawa, purchase (1971NK40). Courtesy of The Robert McLaughlin Gallery.
March 18, March 18, 1944. Collection of the Beaverbrook Collection of War Art, Canadian War Museum, Ottawa, purchase (20190036-017). Courtesy of the Canadian War Museum.
Morning, 1962. Collection of Rudy de Jonge. Courtesy of Heffel Fine Art Auction.
Morning Landscape, 1953. Collection of The Robert McLaughlin Gallery, Oshawa (1991NK72). Courtesy of The Robert McLaughlin Gallery.
Morning Mist, 1951. Collection of John and Katia Bianchini. Courtesy of Heffel Fine Art Auction House.
Night Class, 1944. Collection of the Canadian War Museum, Ottawa, purchase (20190036-010). Courtesy of the Canadian War Museum.
Reflections, 1952. Collection of The Robert McLaughlin Gallery, Oshawa, purchase (1971NK38). Courtesy of The Robert McLaughlin Gallery.
Reflections, 1983. Private Collection. Courtesy of Heffel Fine Art Auction House.
Reversed Images, 1965. Private Collection. Courtesy of Waddington’s Auctioneers and Appraisers, Toronto.
Sketches for Galaxies, c.1963. Estate of the artist. Courtesy of Christopher Cutts Gallery, Toronto.
Solitude, 1973. Private Collection, Toronto. Courtesy of Cowley Abbott, Toronto.
Solitude 7, 1973. Estate of the artist. Courtesy of Christopher Cutts Gallery, Toronto.
Spatial Concept, 1965. Estate of the artist. Courtesy of Christopher Cutts Gallery, Toronto.
Spatial Concept #3, 1970. Courtesy of Paul and Janice Sabourin. Photo by The Kalaman Group.
Spatial Concept/Evolution, 1970. Estate of the artist. Courtesy of Christopher Cutts Gallery, Toronto.
Spatial Concept, Geometry, 1968. Estate of the artist. Courtesy of Christopher Cutts Gallery, Toronto.
Still-Life, 1959. Private Collection. Courtesy of Heffel Fine Art Auction House.
Strawberry Farm, c.1941. Collection of the Beaverbrook Collection of War Art, Canadian War Museum, Ottawa, purchase (20190036-004). Courtesy of the Canadian War Museum.
String Painting, 1957. Courtesy of Paul and Janice Sabourin. Photo by The Kalaman Group.
Summer Brilliance, 1955. Estate of the artist. Courtesy of Christopher Cutts Gallery, Toronto.
Suspended Landscape, 1967. Collection of The Robert McLaughlin Gallery, Ottawa, purchase (1994NK107). Courtesy of The Robert McLaughlin Gallery.
Suspended Landscape, 1969. Private Collection. Courtesy of Waddington’s Auctioneers and Appraisers, Toronto.
Suspension 5, 1968. Collection of Andrew Rookley, Ontario. Courtesy of Cowley Abbott, Toronto.
Tashme, July 2, 1943. Collection of the Beaverbrook Collection of War Art, Canadian War Museum, Ottawa, purchase (20190036-007). Courtesy of the Canadian War Museum.
Tashme at Dusk, July/August 1944, 1944. Private Collection. Courtesy of Christopher Cutts Gallery, Toronto.
Torch Parade, February 25, 1944. Collection of the Beaverbrook Collection of War Art, Canadian War Museum, Ottawa, purchase (20190036-009). Courtesy of the Canadian War Museum.
Tower Structures, 1967.
Trees, 1951. Collection of The Robert McLaughlin Gallery, Oshawa, purchase (1991NK71). Courtesy of The Robert McLaughlin Gallery.
Twelve Mile Lake, 1944. Collection of the Beaverbrook Collection of War Art, Canadian War Museum, Ottawa, purchase (20190036-019). Courtesy of the Canadian War Museum.
Two Horizons, 1968. Collection of Government of Ontario Art Collection, Toronto (619763).
Untitled, c.1950s.
Untitled, 1951. Private Collection.
Untitled, 1955. Estate of the artist. Courtesy of Christopher Cutts Gallery, Toronto.
Untitled, 1955. Private Collection. Courtesy of Heffel Fine Art Auction.
Untitled, 1964. Estate of the artist. Courtesy of Christopher Cutts Gallery, Toronto.
Untitled, 1964. Estate of the artist. Courtesy of Christopher Cutts Gallery, Toronto.
Vancouver, Old Cambie Street Bridge, 1942. Collection of the Beaverbrook Collection of War Art, Canadian War Museum, Ottawa, purchase (20190036-019). Courtesy of the Canadian War Museum.
Credits for Photographs and Works by Other Artists
Advertisement for Abstracts at Home, 1953. Collection of The Robert McLaughlin Gallery Archives, Oshawa. Courtesy of The Robert McLaughlin Gallery.
Blue Dynasty, c.1955, by Alexandra Luke. Collection of The Robert McLaughlin Gallery, Oshawa, Gift of Mr. and Mrs. E. R. S. McLaughlin (1971LA187). Courtesy of The Robert McLaughlin Gallery.
Blue Horizon, c.1957, by Ray Mead. Collection of The Robert McLaughlin Gallery, Oshawa, Gift of M. F. Feheley (1971MR104). Courtesy of The Robert McLaughlin Gallery.
Building L, School (Formerly Winter Garden), Hastings Park, Vancouver, c.1942, photograph by Leonard Frank. Collection of the Nikkei National Museum, Burnaby, Alex Eastwood Collection (1994.69.3.23). Courtesy of the Nikkei National Museum and Cultural Centre.
The Care-of-the-aged Falls in Mino Province (Mino no kuni Yôrô no taki), c.1832, by Katsushika Hokusai. Collection of the Museum of Fine Arts, Boston, William S. and John T. Spaulding Collection (21.669). Courtesy of the Museum of Fine Arts, Boston.
Chestnut Trees at Jas de Bouffan, c.1885–86, by Paul Cézanne. Collection of the Minneapolis Institute of Art, the William Hood Dunwoody Fund (49.9). Courtesy of the Minneapolis Institute of Art.
Chicago Pile-1 (Graphite Lattice), 1942, photographer unknown. Collection of the United States Department of Energy (HD.5A.024). Courtesy of the United States Department of Energy, Historian’s Office.
Composition VIII (The Cow) [4 Stages of Abstraction], c.1917, by Theo van Doesburg. Collection of the Museum of Modern Art, New York, purchase (227.1948.1; 227.1948.6; 226.1948.a-b; and 225.1948).
Cover of Kazuo Nakamura: A Human Measure exhibition catalogue, 2004.
Cover of Kazuo Nakamura: The Method of Nature exhibition catalogue, 2001.
Cover of exhibition brochure for Painters Eleven at Roberts Gallery, 1955. Collection of Jane Nakamura. Courtesy of John G. Hatch.
Exhibition advertisement for Drawings and Paintingsby Kazuo Nakamura at the Picture Loan Society, Toronto, 1952. Collection of Jane Nakamura. Courtesy of John G. Hatch.
Gray Tree, 1911, by Piet Mondrian. Collection of the Kunstmuseum Den Haag, Netherlands (0334314). Courtesy of the Kunstmuseum Den Haag.
House in Provence (Maison en Provence), c.1890, by Paul Cézanne. Collection of the Barnes Foundation, Philadelphia, purchase (BF41). Courtesy of the Barnes Foundation.
Interior of exhibition brochure for Painters Eleven at Roberts Gallery, 1955. Collection of Jane Nakamura. Courtesy of John G. Hatch.
Iris, 1890, by Vincent van Gogh. Collection of the National Gallery of Canada, Ottawa, purchase (6294). Photo credit: National Gallery of Canada.
Japanese Canadians being relocated to camps in the interior of British Columbia, 1942, by Tak Toyota. Collection of Library and Archives Canada, Ottawa (c057250). Courtesy of Library and Archives Canada / The Brechin Group Inc.
Japanese memorial in Stanley Park, April 9, 1920, by Stuart Thomson. Collection of the City of Vancouver Archives (AM1535-: CVA 99-2420). Courtesy of City of Vancouver Archives.
Japanese women in traditional costume in a parade, 1937, by Karl Haspel. Collection of the City of Vancouver Archives (AM1663-: CVA300-136). Courtesy of City of Vancouver Archives.
Kazuo Nakamura, 1957, photographer unknown. Collection of The Robert McLaughlin Gallery Archives, Oshawa. Courtesy of The Robert McLaughlin Gallery.
Kazuo Nakamura in his studio, 1957, photographer unknown.
Kazuo Nakamura in the sculpture studio at Central Technical School, c.1950, photographer unknown. Collection of the estate of the artist. Courtesy of the estate of the artist.
Kazuo Nakamura with his work Infinite Waves, October 30, 1979, photographer unknown. Collection of The Robert McLaughlin Gallery Archives, Oshawa. Courtesy of The Robert McLaughlin Gallery
Kazuo Nakamura with his work Suspension, October 30, 1979, photographer unknown. Collection of The Robert McLaughlin Gallery Archives, Oshawa. Courtesy of The Robert McLaughlin Gallery.
Nakamura family in Tashme internment camp, c.1943, photographer unknown. Collection of the Estate of the artist. Courtesy of the Estate of the artist.
Newspaper clipping of Nakamura working on Galaxies installation, from the Globe and Mail, November 28, 1963.
Notice to All Japanese Persons and Persons of Japanese Racial Origin newspaper clipping, 1942. Collection of the Nikkei National Museum, Burnaby, Kishizo Kimura fonds (2010.4.4.12.36). Courtesy of the Nikkei National Museum and Cultural Centre.
Poppies, 1873, by Claude Monet. Collection of Musée d’Orsay, Paris (RF 1676).
Publicity photo to advertise Abstracts at Home exhibition, October 1953, photograph by Everett Roseborough. Collection of The Robert McLaughlin Gallery Archives, Oshawa. Courtesy of The Robert McLaughlin Gallery.
Relocation of Japanese Canadians to camps in the interior of British Columbia, 1942–46, by Tak Toyota. Collection of Library and Archives Canada, Ottawa (C-047066). Courtesy of Library and Archives Canada / The Brechin Group Inc.
Repatriation – Down the stairs to the bus Logging operations [Tashme Camp], May 31, 1946, photographer unknown, Japanese Canadian Research Collection, University of British Columbia Archives, Vancouver (UBC 39.1/45). Courtesy of the University of British Columbia Archives, Vancouver.
Rouen Cathedral Façade and Tour d’Albane (Morning Effect), 1894, by Claude Monet. Collection of the Museum of Fine Arts, Boston, Tompkins Collection (24.6). Courtesy of the Museum of Fine Arts, Boston.
Starlit Night Miyajima Shrine, 1928, by Kawase Hasui. Collection of the Museum of Fine Arts, Boston, Gift of Miss Minnie A. MacFadden for the Lucy T. Aldrich Collection (47.1342). Courtesy of the Museum of Fine Arts, Boston.
Suprematist Composition: White on White, 1918, by Kazimir Malevich. Collection of the Museum of Modern Art, New York (817.1935).
Tableau no. 4 (Painting No. 4) / Composition no. VIII / Composition 3, 1913, by Piet Mondrian. Collection of the Kunstmuseum Den Haag, Netherlands (334317). Courtesy of the Kunstmuseum Den Haag.
Tashme camp, c.1940–49, photographer unknown. Collection of the Japanese Canadian Research Collection, University of British Columbia, Vancouver (JCPC-08-041). Courtesy of the University of British Columbia, Rare Books and Special Collections.
Tashme camp with mountains in the background, c.1940–49, photographer unknown. Collection of the Japanese Canadian Research Collection, University of British Columbia, Vancouver (JCPC-08-029). Courtesy of the University of British Columbia, Rare Books and Special Collections.
Tashme woodcutting work detail, n.d., (1942?), photographer unknown. Collection of the estate of the artist. Courtesy of the estate of the artist.
Traveling by Moonlight, c.1900, by Kawabata Gyokusho. Collection of the Metropolitan Museum of Art, New York, Charles Stewart Smith Collection, Gift of Mrs. Charles Stewart Smith, Charles Stewart Smith Jr., and Howard Caswell Smith in memory of Charles Stewart Smith (14.76.61.66). Courtesy of the Metropolitan Museum of Art.
View of Lemon Creek Camp, c.1940–49, photographer unknown. Collection of the Japanese Canadian Research Collection, University of British Columbia, Vancouver (JCPC-31-010). Courtesy of the University of British Columbia, Rare Books and Special Collections.
View of Tashme Camp, c.1940–49, photographer unknown. Collection of the Japanese Canadian Research Collection, University of British Columbia, Vancouver (JCPC-30-013). Courtesy of the University of British Columbia, Rare Books and Special Collections.
Book Credits
Publisher
Sara Angel
Editorial and Education Director
Jocelyn Anderson
French Editorial Director
Annie Champagne
Web & Layout Director
Simone Wharton
Editor
Lucy Kenward
Copyeditor
Cy Strom
Proofreader
Tilman Lewis
Translator
Christine Poulin
French Copyeditor
Catherine Lavoie
French Proofreader
Ginette Jubinville
Senior Image Research Associate
Stephanie Burdzy
Image Research Associates
Tara Ng and Emily Putnam
About the Author
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